It’s been awhile, but now it’s time for another Book Cover Smackdown! This time around, we’re pitting upcoming H.P. Lovecraft-themed books up against one another.
Your mission, should you choose to accept it: Pass artistic judgment!
- Which of these covers do you like the most?
- What works and what doesn’t work with these covers?
- Do any of them make you want to learn more about and/or read the book?
In the cold spring of 1936, Arthor Crandle, down-on-his luck and desperate for work, accepts a position in Providence, Rhode Island, as a live-in secretary/assistant for an unnamed shut-in.
He arrives at the gloomy colonial-style house to discover that his strange employer is an author of disturbing, bizarre fiction. Health issues have confined him to his bedroom, where he is never to be disturbed. But the writer, who Crandle knows only as “Ech-Pi,” refuses to meet him, communicating only by letters left on a table outside his room. Soon the home reveals other unnerving peculiarities. There is an ominous presence Crandle feels on the main stairwell. Light shines out underneath the door of the writer’s room, but is invisible from the street. It becomes increasingly clear there is something not right about the house or its occupant.
Haunting visions of a young girl in a white nightgown wandering the walled-in garden behind the house motivate Crandle to investigate the circumstances of his employer’s dark family history. Meanwhile, the unsettling aura of the house pulls him into a world increasingly cut off from reality, into black depths, where an unspeakable secret lies waiting.
A new terrifying collection inspired by the master of horror H.P. Lovecraft. The Mammoth Book of Cthulhu brings some of the best established and upcoming writers sharing their best Lovecraftian horror.
Despite what it says on the cover, the 25 stories listed for the table of contents include:
- “A Clutch” by Laird Barron
- “I Believe That We Will Win” by Nadia Bulkin
- “The Sea Inside” by Amanda Downum
- “Those Who Watch” by Ruthanna Emrys
- “Deep Eden” by Richard Gavin
- “In the Sacred Cave” by Lois H. Gresh
- “In Syllables of Elder Seas” by Lisa L. Hannett
- “It’s All the Same Road In the End” by Brian Hodge
- “The Peddler’s Tale, or, Isobel’s Revenge” by Caitlín R. Kiernan
- “Outside the House, Watching for the Crows by John Langan
- “Falcon-and-Sparrows” by Yoon Ha Lee
- “In the Ruins of Mohenjo-Daro” by Usman Tanveer Malik
- “The Cthulhu Navy Wife” by Sandra McDonald
- “Caro in Carno” by Helen Marshall
- “Legacy of Salt” by Silvia Moreno-Garcia
- “Backbite” by Norman Partridge
- “A Shadow of Thine Own Design” by W. H. Pugmire
- “Variations on Lovecraftian Themes” by Veronica Schanoes
- “An Open Letter to Mr. Edgar Allan Poe, from a Fervent Admirer” by Michael Shea
- “Just Beyond the Trailer Park” by John Shirley
- “Alexandra Lost” by Simon Strantzas
- “Umbilicus” by Damien Angelica Walters
- “The Future Eats Everything” by Don Webb
- “I Do Not Count the Hours” by Michael Wehunt
- “I Dress My Lover in Yellow” by A.C. Wise
So, not sure if this is the final list or an old lineup.
The critically acclaimed cult novelist makes visceral the terrors of life in Jim Crow America and its lingering effects in this brilliant and wondrous work of the imagination that melds historical fiction, pulp noir, and Lovecraftian horror and fantasy.
Chicago, 1954. When his father Montrose goes missing, 22-year-old Army veteran Atticus Turner embarks on a road trip to New England to find him, accompanied by his Uncle George—publisher of The Safe Negro Travel Guide—and his childhood friend Letitia. On their journey to the manor of Mr. Braithwhite—heir to the estate that owned one of Atticus’s ancestors—they encounter both mundane terrors of white America and malevolent spirits that seem straight out of the weird tales George devours.
At the manor, Atticus discovers his father in chains, held prisoner by a secret cabal named the Order of the Ancient Dawn—led by Samuel Braithwhite and his son Caleb—which has gathered to orchestrate a ritual that shockingly centers on Atticus. And his one hope of salvation may be the seed of his—and the whole Turner clan’s—destruction.
A chimerical blend of magic, power, hope, and freedom that stretches across time, touching diverse members of two black families, Lovecraft Country is a devastating kaleidoscopic portrait of racism—the terrifying specter that continues to haunt us today.
Howard Phillips Lovecraft, the American author of “weird tales” who died in 1937 impoverished and relatively unknown, has become a twenty-first-century star, cropping up in places both anticipated and unexpected. Authors, filmmakers, and shapers of popular culture like Stephen King, Neil Gaiman, and Guillermo del Toro acknowledge his influence; his fiction is key to the work of posthuman philosophers and cultural critics such as Graham Harman and Eugene Thacker; and Lovecraft’s creations have achieved unprecedented cultural ubiquity, even showing up on the animated program South Park.
The Age of Lovecraft is the first sustained analysis of Lovecraft in relation to twenty-first-century critical theory and culture, delving into troubling aspects of his thought and writings. With contributions from scholars including Gothic expert David Punter, historian W. Scott Poole, musicologist Isabella van Elferen, and philosopher of the posthuman Patricia MacCormack, this wide-ranging volume brings together thinkers from an array of disciplines to consider Lovecraft’s contemporary cultural presence and its implications. Bookended by a preface from horror fiction luminary Ramsey Campbell and an extended interview with the central author of the New Weird, China Miéville, the collection addresses the question of “why Lovecraft, why now?” through a variety of approaches and angles.
A must for scholars, students, and theoretically inclined readers interested in Lovecraft, popular culture, and intellectual trends, The Age of Lovecraft offers the most thorough examination of Lovecraft’s place in contemporary philosophy and critical theory to date as it seeks to shed light on the larger phenomenon of the dominance of weird fiction in the twenty-first century.
Contributors: Jessica George; Brian Johnson, Carleton U; James Kneale, U College London; Patricia MacCormack, Anglia Ruskin U, Cambridge; Jed Mayer, SUNY New Paltz; China Miéville, Warwick U; W. Scott Poole, College of Charleston; David Punter, U of Bristol; David Simmons, Northampton U; Isabella van Elferen, Kingston U London.